« Plus ça change et plus c’est la même chose » tel est le proverbe qui nous vient à l’esprit lorsque l’on procède à l’étude de la représentation de la famille dans les family sitcoms depuis 1950. Cette expression illustre les tensions que soulève notre thèse, à savoir d’une part la volonté du médium télévisuel en tant que vecteur de l’immédiateté de retranscrire à l’écran l’évolution sociopolitique de la société, et d’autre part la stagnation du support télévisuel engendrée par une norme structurelle et thématique du genre de par l’hégémonie de la famille patriarcale traditionnelle couplée à la circularité de la structure qui en empêche l’évolution. Nous nous proposons ici de mettre en lumière le lien qui unit le modèle de la famille traditionnelle au genre de la sitcom et d’en analyser les évolutions, soit de l’un en fonction de l’autre dans un contexte sociopolitique en pleine mutation.Aussi, dans une perspective sémio-socioculturelle, nous examinerons la famille en tant qu’identité sociale dans un contexte donné, la société américaine de 1950 à 2004, mais également en tant que représentation télévisuelle, la construction de la famille au cœur de la sitcom étant avant tout une mise en scène. / « Plus ça change et plus c’est la même chose ». This French phrase could epitomize the study of the representation of the family in American family sitcoms from the 1950s.In fact, it shows the tensions between the function of television as the medium of immediacy, broadcasting images of the social and political evolution of society, and the stagnation of the sitcom as a genre caused by the norm of its circular structure and its overrepresentation of the traditional nuclear family. In this study, we will analyze the binding connection between the traditionnal family pattern and the sitcom, and we will show their mutual evolutions into a changing society.Thus, in a semiotic and sociocultural perspective, we’ll see the family as a social identity into the American society from 1950 to 2004, and also as a TV representation since the family pattern in the sitcom is a production above all.

This thesis aims at identifying, through Will Wright methods of narrative analysis, how the different masculinities are represented in the first season of the TV-series True Detective via the protagonists Rust Cohle and Marty Hart. Theories about hegemonic masculinity and Will Wright's theories for narrative analysis are further applied to see how these similarities and differences are formed by what Wright calls “the professional plot". Through 32 chosen scenes from the first season, this study examines the narrative of True Detective and the relationship between the main characters Rust Cohle and Marty Hart from a point of view that will highlight their hierarchic positions in the hegemonic masculinity, using Raewyn Connell’s studies as a theory. We have found that there are two separate hegemonic spheres, one within the relationship between the main characters, and one within the society as a whole. In the latter, Marty Hart is displayed as a member of the hegemonic masculinity up to the point where he loses his family while Rust Cohle constantly belongs to the subordinate masculinity. This is due to him being in constant clash with the traditional cultural values of Louisiana where the series takes place. Regarding the hegemony within their relationship, Rust Cohle goes through a hegemonic transformation, from the subordinate masculinity to the hegemonic while Marty Hart makes the journey from occupying the hegemonic masculinity to serve as the participating dito.

This thesis examines TV series adaptation as a type of intersemiotic translation. Proposing an interdisciplinary approach to adaptations, it combines methods of translation studies, film theory, narratology, and adaptation studies. The thesis analyses the translation of Margaret Atwood's dystopian novel The Handmaid's Tale into the first season of its TV series namesake. While using Katerina Perdikaki's translation/adaptation model, it studies and interprets the shifts that occur during the adaptation process. Applying hypotheses by Linda Hutcheon, it focuses on the film means used in the TV series to express meanings narrated in the novel (such as dialogues, voice-over, sound and soundtrack, types of camera shots, camera angles and movement, editing, colours, depth of field, light, narrative and story time, actors, or misanscene).

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-07-12T15:35:03Z No. of bitstreams: 1 Paulo Júnior Melo da Luz_.pdf: 2758323 bytes, checksum: a7ad97dac7f363ac2e60819fd2ea332e (MD5) / Made available in DSpace on 2018-07-12T15:35:03Z (GMT). No. of bitstreams: 1 Paulo Júnior Melo da Luz_.pdf: 2758323 bytes, checksum: a7ad97dac7f363ac2e60819fd2ea332e (MD5) Previous issue date: 2018-03-02 / CNPQ – Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta pesquisa teve como objetivo geral investigar as significações produzidas por sujeitas comunicantes mulheres para as personagens femininas narcotraficantes na série Queen of the South, destacando a presença do protagonismo das mulheres nesse cenário. Para embasar a investigação, refleti sobre os conceitos teóricos: gênero ficcional série; gênero, enquanto categoria analítica e epistemológica para pensar as mulheres; sujeitos comunicantes e processos de recepção; identidades culturais e cidadania comunicativa. A fim de compreender os entornos da problemática, realizei um movimento de contextualização que abarcou questões do narcotráfico na fronteira entre México e Estados Unidos; da narcotraficante Sandra Ávila Beltrán, que inspirou a série Queen of the South; da personagem Teresa Mendoza, a Rainha do Sul; dos processos de interlocução entre a televisão latina e a estadunidense e das migrações femininas latinas para os Estados Unidos. As estratégias metodológicas se construíram a partir da transmetodologia, que orientou a pesquisa bibliográfica, a pesquisa da pesquisa, a pesquisa de contextualização e a pesquisa teórica. O olhar transmetodológico também norteou a pesquisa empírica exploratória, realizada por meio de questionários e entrevistas nos ambientes digitais da série Queen of the South, com sujeitos que formam o público da série. Ademais, foram feitas entrevistas em profundidade com cinco mulheres que compõem a amostra da investigação na fase sistemática. A dissertação permitiu refletir sobre as potencialidades e obliterações de exercício da cidadania comunicativa na construção do gênero feminino em Queen of the South. A partir das conversas com as sujeitas da recepção, foi possível pensar em como cada trajetória de gênero gera significações para a série, abrindo discussões sobre feminismo, igualdade e luta pelos direitos das mulheres em perspectiva cidadã. / This research had as main objective to investigate the interpretations produced by women communicative subjects for the female drug dealer characters of the series Queen of the South, highlighting the presence of women main roles in this scenario. To base the investigation, I reflected about the theoretical concepts: series as fictional gender; gender, as an analytical and epistemological category to think about women; communicative subjects and reception processes; cultural identities and communicative citizenship. To understand the surroundings of the problematic, I made a contextualization movement that covered questions: of drug dealing in the border of Mexico and the United States; of the drug dealer Sandra Ávila Beltrán, who inspired the series Queen of the South; of the character Teresa Mendoza, the Queen of the South; of the processes of interlocution among the Latin and the American television; and the feminine migrations to the United States. The methodological strategies were built with basis on the transmethodology, which oriented the bibliographic research, the research of the research, the contextualization research and the theoretical research. The transmethodological perspective also guided the exploratory empirical research, accomplished with questionnaires and interviews on the digital spaces of the series Queen of the South, with subjects who form the public of the show. Furthermore, were made in-depth interviews with five women who composed the sample of the systematic phase of the investigation. The dissertation allowed me to think about the potentialities and obliterations of the communicative citizenship effectiveness on the building of a feminine gender in Queen of the South. From the dialogues with the subjects of the reception, it was possible to comprehend how each gender trajectory create significations to the series, opening discussions about feminism, equality and fight for women rights in a citizenship perspective.

No description available.

This thesis deals with the study of popular culture for example, television series like a typical product of this culture and of research of their consumers. It deals with the shift in the understanding of the importance of the concept of popular culture for example, female audience pursuing series called series "for the whole family. With this selected audience watching the series at the time of normalization, and at the same time pursuing current series I am trying to trace the development, as well as the changes in understanding of pop culture. The aim of this thesis is to determine the movement, changes in the understanding of the concept / importance of popular culture occurred during the period of normalization to the present days. At work I deal with social and political context, defining of popular culture, everydayness and watching TV serials. This is a qualitative research on female audience through in-depth interviews.

Les familles et les questions de société qui s’y rapportent occupent une place politiquement et symboliquement importante aux Etats-Unis depuis l’installation des colonies anglaises dans le continent Américain au XVIIe siècle. Elles sont omniprésentes dans les fictions télévisées depuis les débuts de la télévision commerciale américaine, à la fin des années 1940. Aujourd’hui, il est difficile de citer une série qui ne parle pas directement ou indirectement de la famille. Pourtant, elles sont peu nombreuses à en faire leur sujet principal. Dans les années 1950 et 1960, les familles sont déjà le sujet de séries télévisées, que ce soit dans des sitcoms, des soap operas ou des westerns. A partir des années 1970, elles commencent à être l’objet principal de séries dramatiques de prime time : des family dramas. La chercheuse Ella Taylor, dans Prime Time Families, définit le family drama comme « une série dont l’action se passe principalement dans la maison » (« a dramatic series set in the home »). L’observation des évolutions du family drama des années 1970 à nos jours vise à comprendre l’évolution des conceptions de la famille dans l’imaginaire collectif de la société américaine. Cette étude chronologique, divisée en trois époques, analysera la généalogie du genre du family drama. La première période commence en 1972, le début de la diffusion de la série The Waltons (CBS, 1972-1981) et se termine en 1983, soit à la fin de la diffusion de Little House on the Prairie (NBC, 1974-1983). La deuxième période commence en 1978, avec le début de la diffusion de Dallas (CBS, 1978-1991) et se termine en 1993, soit à la fin de la diffusion de Knots Landing (CBS, 1979-1993). La troisième période s’est ouverte en 1994, avec le début de la diffusion de Party of Five (Fox, 1994-2000) et se termine en 2015 avec Parenthood (NBC, 2010-2015). / Families have occupied a politically and symbolically important place in the United States since the settlement of the English colonies in the American continent in the seventeenth century. They have been ubiquitous in TV drama since the early days of American commercial television in the late 1940s. Today, it is hard to find a television series that does not speak directly or indirectly about family. Yet, only few make them their main subject. In the 1950s and 1960s, families were already the subject of television programs, whether in sitcoms, soap operas or westerns. From the 1970s, they began to be the main focus of prime-time drama shows: family drama was born. The researcher Ella Taylor, in Prime Time Families, defines the family drama as "a dramatic series set in the home". The observation of evolutions of the family drama from the 1970s to now aims at understanding the evolution of the perceptions of the family in the collective imagination of American society. This chronological study, divided into three eras, analyzes the genealogy of the family drama as a genre. The first period began in 1972, with the beginning of the broadcast of The Waltons (CBS, 1972-1981) and ended in 1983, at the end of the broadcast of Little House on the Prairie (NBC, 1974-1983). The second period begins in 1978, with the start of the Dallas broadcast (CBS, 1978-1991) and ends in 1993, at the end of the broadcast of Knots Landing (CBS, 1979-1993). The third period began in 1994 with the launch of the release of Party of Five (Fox, 1994-2000) and ends in 2015 with Parenthood (NBC, 2010-2015).

Det finns inte mycket forskning kring hur genus förmedlas genom barnprogram. De få studiersom finns visar på att manliga karaktärer oftare förekommer än kvinnliga, och att de manligakaraktärerna oftast har större och viktigare roller. Syftet med studien är att undersöka hur kvinnliga karaktärer framställs i barnprogrammen från deolika tidsperioderna. Analysen ska utreda på vilket sätt de kvinnliga karaktärerna framställs och omdet har förändrats över tid. Analysen ska även påvisa om karaktärerna kan benämnas somstereotypa eller inte samt om de följer de traditionella könsrollerna. Uppsatsen bygger på en semiotisk innehållsanalys med både denotativ och konnotativ ansats.Semiotiken är både insamlings- och analysmetod. Genom urvalsmetoden som delvis varslumpmässig bestämdes vilka sex barnprogram från tre olika årtionden som skulle utgöra detempiriska materialet. Vår analys vittnar om att det finns både likheter och skillnader mellan kvinnliga karaktärer frånolika barnprogram och årtionden. Det finns däremot inget direkt mönster för dessa likheter ochskillnader. Vår analys visar också att de kvinnliga karaktärerna inte är särskilt stereotypa i sittuppträdande. Det går inte att se någon generell förändring över tid vad gäller karaktärernasbeteende, analysen visar inte att de gått från att bete sig på ett vis till ett annat. / There is little research on how gender is mediated through children’s programs. The few studies that exist indicate the male characters more often appears than female, and the male characters usually have larger and more important roles. The purpose of this study is to examine how female characters are portrayed in the children’s programs from the different time periods. The analysis will show how the female characters are portrayed and if it has changed over time. The analysis will also show whether the characters can be referred to as stereotypical or not, and if they follow the typical gender roles. The essay is based on a semiotic content analysis with both denotative and connotative approach. Semiotics is both collection and analysis method. Through the sampling method which was partially random, the six children’s programs from three different decades were established to constitute the empirical material. Our analysis shows that there are both similarities and differences between the female characters from carious children’s programs and decades. However, there is no direct pattern for these similarities and differences. Our analysis also shows that the female characters’ appearance is not very stereotypical. It is not possible to see any overall change over time in terms of the characters’ behavior; the analysis does not demonstrate that they have gone from behaving in one manner to another.

Tanken med denna uppsats är att försöka få en inblick i vilka funktioner musiken fyller i TV-dramat. Det finns en del studier att tillgå om filmmusik men ytterst lite om just musik inom TV-serier. Mitt syfte är således att undersöka vad för slags musik som används i TV-dramer, i vilka sammanhang den förekommer och dess relation i förhållande till det som utspelar sig i bild. Utöver det tar jag delvis upp diskussioner om huruvida vi ska uppfatta filmmusik medvetet eller inte. I och med det har viss vikt lagts vid att studera eventuella skillnader i upplevelsen och användandet av instrumentalmusik och populärmusik.   Till mitt arbete har jag använt mig av tidigare forskning kring filmmusik och gjort en jämförande analys av polisserierna Miami Vice och Life on Mars. Åtta avsnitt ur varje serie har studerats och därefter har ett representativt avsnitt från respektive TV-drama valts ut för en fördjupad analys. Min uppfattning utifrån studien är att instrumentalmusik och populärmusik i de flesta fall används i liknande sammanhang. Dessa kan exempelvis vara att ge en känsla av atmosfär, understryka en karaktärs känslor, ge tittaren information som inte kan utläsas utifrån enbart bilderna och bidra med kontinuitet. Populärmusik kan i somliga fall vara ett bra alternativ till instrumentalmusik för att vi ska hålla kvar vårt fokus på bilderna. Men populärmusikens främsta funktion i de undersökta serierna är som tidsmarkör för den period handlingen utspelar sig i.

<p> </p><p>Tanken med denna uppsats är att försöka få en inblick i vilka funktioner musiken fyller i TV-dramat. Det finns en del studier att tillgå om filmmusik men ytterst lite om just musik inom TV-serier. Mitt syfte är således att undersöka vad för slags musik som används i TV-dramer, i vilka sammanhang den förekommer och dess relation i förhållande till det som utspelar sig i bild. Utöver det tar jag delvis upp diskussioner om huruvida vi ska uppfatta filmmusik medvetet eller inte. I och med det har viss vikt lagts vid att studera eventuella skillnader i upplevelsen och användandet av instrumentalmusik och populärmusik.</p><p> </p><p>Till mitt arbete har jag använt mig av tidigare forskning kring filmmusik och gjort en jämförande analys av polisserierna <em>Miami Vice</em> och <em>Life on Mars</em>. Åtta avsnitt ur varje serie har studerats och därefter har ett representativt avsnitt från respektive TV-drama valts ut för en fördjupad analys. Min uppfattning utifrån studien är att instrumentalmusik och populärmusik i de flesta fall används i liknande sammanhang. Dessa kan exempelvis vara att ge en känsla av atmosfär, understryka en karaktärs känslor, ge tittaren information som inte kan utläsas utifrån enbart bilderna och bidra med kontinuitet. Populärmusik kan i somliga fall vara ett bra alternativ till instrumentalmusik för att vi ska hålla kvar vårt fokus på bilderna. Men populärmusikens främsta funktion i de undersökta serierna är som tidsmarkör för den period handlingen utspelar sig i.</p><p> </p>